한스 벨팅의 이미지학(Bildwissenschaft)에서 인간 형상 이미지 연구 - 영화 ''뷰티 인사이드''를 통한 이미지론의 고찰

Abstract

Hans Belting’s saying that “We live with images and understand the world in images” briefly and clearly exhibits the current situation at the early 21st Century that is handled by various forms of images. We observe the production, the preservation, and the spread of information with images beyond the limit of space and time in all the area of our daily life as well as in art’s arena. The image practice or ‘Bildakte’ that has been representative with art throws questions on the scholastic availability in traditional aesthetics or art history. Since Belting raised “the end” of art as a discourse created during a certain specific era, there have been attempts to rectify, to supplement, to expand such traditional domains: ‘Bildwissenschaft’ as an alternative academic discipline in Germany, alongside Anglo-American visual studies. The rise of ‘Bildwissenschaft’ is deeply connected with diverse ‘eschatology’ in art field that has been brought forward during the last two decades of the twentieth century. Particularly during the 1980’s, the fin de siecle ‘eschatology’ was conspicuously brought up within art history, aesthetics, and art criticism that tried to theorize new art conception by observing contemporary art field. Arthur C. Danto’s “End of Art” and Hans Belting’s “End of Art History” are representative among others. Both scholars paid their attentions to the aspects and characters observed from contemporary art exhibitions in the United States and in Germany, and made a similar diagnosis of the end of art concept’s availability in terms that it was an “invention” of a ‘specific’ region in a ‘specific’ period. In searching for the property of contemporary art based on Hegelian concept of history and philosophy, Danto defined its quality with “perceptual indiscernibility” and “transfiguration of the commonplace” rather than the stylistic. Such a viewpoint revealed a limitation, however, in giving the entire picture of various image practices with digital media, by subordinating image to language and text again.